Carter Burden Gallery presents three new exhibitions: Examining Movement & Gestures in the east gallery featuring Jonathan Bauch and Francie Lyshak, Remixing Dreams: Cheating the Status Quo in the west gallery featuring Nieves Saah, and On the Wallfeaturing Bruce W. Greenwood. The reception will be held April 6, 2017 from 6 - 8 p.m. The exhibition runs from April 6 through 27th at 548 West 28th Street in New York City. The gallery hours are Tuesday - Friday, 11 a.m. - 5 p.m., Saturday 11 a.m. - 6 p.m.

In his fourth exhibition at Carter Burden Gallery sculptor Jonathan Bauch presents wall and freestanding steel sculptures that explore the challenges that humanity faces, both internal and external. In Examining Movement & Gestures Bauch contrasts two forms of movement, physical and quick gestures represented by abstracted dancing figures in small-scale pedestal pieces, and a slower more methodical motion that reflects our changing environment. Bauch states: “In working with the steel, the industrial quality of the medium is tempered by the indelible mark of the human hand, resulting in sculptures that seem to defy their material with their ethereal qualities.”

BalancedMan?, 2014, Steel and Enamel

Bushwick III - Escape, 2016, Steel andEnamel, 9.5 x 18 x 10.5 inches

Louisiana Bound, 2017, Steel and Enamel, 16x12x2 inches

New Orleans Weeds, 2017, Steel and Enamel, 16.5x11.5x3.75 inches

Rough Riders, 2017, Steel and Enamel, 16x12x2 inches

Tompkins Square 1967, Steel and Mixed Media, 11x37.5x18.5 inches

Tumbleweed, 2017, Steel and Mixed Media, 21.5x12x6.25 inches

In On the WallBruce W. Greenwood presents an installation entitled The Organizing Principle/Evolution in his first solo show for Carter Burden Gallery. For this installation the inspiration of Greenwood was to execute a single, elegant line evocative of the female torso that would also be instantly recognized as the artist's signature stroke. Employing a series of grids, transparencies and overlays, Greenwood utilizes unpainted sheetrock and delicate pencil lines to construct an anthropological model of the human figure.

Ancient Alphabet, 2017, acrylic and plaster on sheetrock, 8 x 4 feet

Installation View of Ancient Alphabet, 2017

Installation View of Ancient Alphabet and The Organizing Principal/Evolution, 2017

Installation View of The Organizing Principal/Evolution, 2017

Detail Installation View of The Organizing Principal/Evolution, 2017

Detail Installation View of The Organizing Principal/Evolution, 2017

In Examining Movement & GesturesFrancie Lyshak presents recent paintings in her third exhibition at Carter Burden Gallery. In her latest series of monochromatic oil paintings, Lyshak explores the medium itself and the aesthetic effects of making marks. The works are experiments with paint and painter’s tools, with a focus on color simplicity and the influence of light and texture. Lyshak states: “At its simplest level, a painting is an interaction between the paint and the artist’s eye, hand, and mind. The painter’s stage is a canvas.”

Streaming Milori, 2016, Oil on Linen, 24x40 inches

Knifed White, 2015, Oil on Linen, 34x28 inches

Streaming Rose, 2016, Oil on Linen, 24 x 40 inches

Grey Horizontal, 2016, Oil on Linen, 16 x 20 inches

Knives Blue, 2015, Oil on Linen, 34 x 26 inches

Silence Equals Extinction, 2016, Oil on Linen, 16 x 20 inches

Streaming Yellow, 2015, Oil on Linen, 24 x 40 inches

Remixing Dreams: Cheating the Status Quo features new works by painter Nieves Saah. The rich color palette of Saah’s paintings reflect not only her life in Spain, a country with a vast, colorful art history, but also her extensive travels in South America, other parts of Europe, and the Middle East. Her compositions are complex and usually consist of contrasting colors. She creates the imagery by stacking colors next to each other then taking away what she feels is unnecessary and moving “the paint to where whimsy and a lifetime of skill dictates.” Saah’s paintings are emotional and often express stories of her own life.